| Project/Area Number |
17K13362
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| Research Category |
Grant-in-Aid for Young Scientists (B)
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| Allocation Type | Multi-year Fund |
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| Research Field |
Fine art history
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| Research Institution | Kyoto National Museum (2021-2023)
Administrative Agency for Osaka City Museums (2019-2020)
公益財団法人大阪市博物館協会(大阪文化財研究所、大阪歴史博物館、大阪市立美術館、大阪市立東洋陶磁美術 (2017-2018) |
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Principal Investigator |
Morihashi Natsumi 独立行政法人国立文化財機構京都国立博物館, 学芸部調査・国際連携室, 研究員 (20795281)
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| Project Period (FY) |
2017-04-01 – 2024-03-31
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| Project Status |
Completed (Fiscal Year 2023)
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| Budget Amount *help |
¥4,030,000 (Direct Cost: ¥3,100,000、Indirect Cost: ¥930,000)
Fiscal Year 2020: ¥650,000 (Direct Cost: ¥500,000、Indirect Cost: ¥150,000)
Fiscal Year 2019: ¥910,000 (Direct Cost: ¥700,000、Indirect Cost: ¥210,000)
Fiscal Year 2018: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2017: ¥1,690,000 (Direct Cost: ¥1,300,000、Indirect Cost: ¥390,000)
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| Keywords | 中国絵画 / 遺民画家 / 宋末元初 / 遺民 / 中国絵画史 / 宋元 / 美術史 |
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| Outline of Final Research Achievements |
This study will focus on the works of the painters adhering to former overthrown dynasty ("Yimin") that appear during the period of dynastic change in China, in order to examine the relationship between paintings and consciousness as the Yimin, we focused on paintings from the end of the Southern Song dynasty onward.
The "Yimin" were those who did not serve in the new court out of loyalty to their former lord and based on Confucian ethics, and those who took up a paintbrush to express their feelings were called Yimin painters. Here, we focused on two representative Yimin painters of the late Southern Song and early Yuan periods, Zheng Sixiao and Gong Kai. This study also pointed out that the characteristics of their painting style, which was mainly ink painting, reflected their consciousness as a "Yimin", and also confirmed that their works were reevaluated during the dynastic changes of later generations.
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| Academic Significance and Societal Importance of the Research Achievements |
「遺民画家」という特定の時代と環境に限定してあらわれる制作主体の研究は、体系化がしにくく、必ずしも積極的には行われてこなかったが、今回、宋末元初の2人の遺民画家に焦点をあて、比較作例を集めて相対化しながら考察をすることで、その特質が随分と明確になったように思われる。「遺民」という現象は東アジアの儒教的倫理観のなかで、国や時代を越えて共鳴を生むものであり、絵画史だけではなく社会史、文学史など人文学にひろく応用できるものである。本研究はきわめて学際的な主題であり、問題の共有化と多角的研究によって美術史研究発展の一助となることが期待される。
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